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The same judgment cannot be pronounced on the satire of Voltaire. No doubt, also, in his case, it is the truth and simplicity of nature which here and there makes us experience poetic emotions, whether he really encounters nature and depicts it in a simple character, as many times in his “Ingenu;” or whether he seeks it and avenges it as in his “Candide” and elsewhere. But when neither one nor the other takes place, he can doubtless amuse us with his fine wit, but he assuredly never touches us as a poet. There is always rather too little of the serious under his raillery, and this is what makes his vocation as poet justly suspicious. You always meet his intelligence only; never his feelings. No ideal can be detected under this light gauze envelope; scarcely can anything absolutely fixed be found under this perpetual movement. His prodigious diversity of externals and forms, far from proving anything in favor of the inner fulness of his inspiration, rather testifies to the contrary; for he has exhausted all forms without finding a single one on which he has succeeded in impressing his heart. We are almost driven to fear that in the case of his rich talent the poverty of heart alone determined his choice of satire. And how could we otherwise explain the fact that he could pursue so long a road without ever issuing from its narrow rut? Whatever may be the variety of matter and of external forms, we see the inner form return everywhere with its sterile and eternal uniformity, and in spite of his so productive career, he never accomplished in himself the circle of humanity, that circle which we see joyfully traversed throughout by the satirists previously named.

ELEGIAC POETRY.

When the poet opposes nature to art, and the ideal to the real, so that nature and the ideal form the principal object of his pictures, and that the pleasure we take in them is the dominant impression, I call him an elegiac poet. In this kind, as well as in satire, I distinguish two classes. Either nature and the ideal are objects of sadness, when one is represented as lost to man and the other as unattained; or both are objects of joy, being represented to us as reality. In the first case it is elegy in the narrower sense of the term; in the second case it is the idyl in its most extended acceptation.

Indignation in the pathetic and ridicule in mirthful satire are occasioned by an enthusiasm which the ideal has excited; and thus also sadness should issue from the same source in elegy. It is this, and this only, that gives poetic value to elegy, and any other origin for this description of poetical effusion is entirely beneath the dignity of poetry. The elegiac poet seeks after nature, but he strives to find her in her beauty, and not only in her mirth; in her agreement with conception, and not merely in her facile disposition towards the requirements and demands of sense. Melancholy at the privation of joys, complaints at the disappearance of the world’s golden age, or at the vanished happiness of youth, affection, etc., can only become the proper themes for elegiac poetry if those conditions implying peace and calm in the sphere of the senses can moreover be portrayed as states of moral harmony. On this account I cannot bring myself to regard as poetry the complaints of Ovid, which he transmitted from his place of exile by the Black Sea; nor would they appear so to me however touching and however full of passages of the highest poetry they might be. His suffering is too devoid of spirit, and nobleness. His lamentations display a want of strength and enthusiasm; though they may not reflect the traces of a vulgar soul, they display a low and sensuous condition of a noble spirit that has been trampled into the dust by its hard destiny. If, indeed, we call to mind that his regrets are directed to Rome, in the Augustan age, we forgive him the pain he suffers; but even Rome in all its splendor, except it be transfigured by the imagination, is a limited greatness, and therefore a subject unworthy of poetry, which, raised above every trace of the actual, ought only to mourn over what is infinite.